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Also Anderson 1994: 220–2. Cf. already Crusius 1894: 181–2. This is the enharmonic/chromatic series with the inclusion of n୦tʶ synʶmménˢn G and hyperypátʶ , which must be regarded rather as ﬁxed, not as diatonic movable notes; cf. GMW II: 205–6 nn. 65 and 71; Hagel 2000: 89–93. The presence of together with the enharmonic/chromatic highest notes of the pyknón, and , which are mutually exclusive in the regular scales, establish the connection between the Orestes fragment and the scales from Aristides.

In their function as lowest notes of the pyknón, the basic signs are naturally associated with the ﬁxed notes of the Perfect System. 38 Since 36 , 37 38 , + It is preferable to write f instead of g , if only because ancient notation frequently associates the pitch in question with the note below, but never with that above (similarly, one might want to write e instead of f, were it not for the sake of readability). The transcription does not imply, a priori, modern harmonic relations. Cf. Laloy 1904: 108–11; Barker 2000: 127 with n.

375. Cf. West 1992a: 42 n. 78. The origins of the notation 21 The fact that a rotating sign was used for mésʶ, too, betrays the fact that already in this earliest form a pyknón above this note was envisaged. Obviously the synʶmménon tetrachord was already provided for, to account for that basic type of modulation which had been in use since very early times. e Here we are dealing with two types of n୦tʶ, consequently notated by two variants of the letter Ȟ (which may originally have read and B59).